_Lucio Fontana, Second Manifesto of Spacialism, 1948

LUCIO FONTANA
Rosario, Argentina, 1989 – Varese, Italy, 1968

Lucio Fontana is one of the most relevant artist of the 20th century introducing the concept of space in painting. The sculpture, being three-dimensional, did this necessarily, as did the kind of enviromental installation that Fontana explored early on and which has since become its own genre of art. Painting, though, demanded the rupturing of the picture’s flatness. Canvas or paper is the literal foundation for a picture. To puncture this plane is a daring act for a painter. Spatial Concept clearly conveys the considerable psychological nerve Fontana’s gesture required.

Concetto Spaziale, 1964-66
Gouache, gold, tear and pencil on paper
46 x 30 cm
61 x 46 cm (framed)
Unique Piece

Inquire

“Making art is one of the manifestations of human intelligence; difficult to set the limits, the reasons, the needs. There can be neither spatial painting nor sculpture, but only a ‘spatial concept’ of art. The element in space in all its dimensions is the only evolution of spatial architecture. […] The only freedom is intelligence.”
_Lucio Fontana

Enrico Castellani
Castelmassa, Italy, 1930 – Viterbo, Italy, 2017

Enrico Castellani created a newly controlled and meditative painterly approach; disregarding illusion and mark-making entirely, these new painting-objects exploited the physical space inherent to the canvas-stretcher itself. He is best Known for his ‘Paintings of light’ that merge art, spaciality and architecture to transcend the ethereal boundaries of painting.

Sans Titre, 1959
Vinyl
11,9 x 16,5 cm
20 x 25 cm (framed)
Unique Piece

Inquire

Sans Titre, 1997
Embossed and debossed paper
56 x 64 cm
66 x 74 cm (framed)
Unique Piece

Inquire

“Line, indefinitely repeatable rhythm and monochrome surface, are necessary in order to give the work itself the concreteness of the infinite and which will withstand the conjugation of time which, in turn, is the only conceivable dimension, measure and justification of our spiritual exigency.”
_Enrico Castellani

Piero Manzoni
Soncino, Italy, 1933 – Milán, Italy, 1963

In his Achromes series, Manzoni sought to discard narrative and emotional content from painting by abandoning color. His Achromes were conceived not as white paintings but as acts of negation: blank, neutral surfaces stripped of all allusion, metaphor, and representation. Manzoni developed a novel technique: he dipped canvas in liquid white china clay, situationg the medium between painting and sculpture.

Achrome, 1958
Kaolin on canvas
25 x 35 cm
52 x 41,5 cm (framed)
Unique Piece

Inquire

“My first Achromes are from 1957: in canvas soaked in kaolin and glue: since 1959 the raster of the Achromes has been stitched by machine […] The question for me is that of creating an integrally white surface which is completely unrelated to any pictorial phenomenon or to any element that is extraneous to the value of the surface. Or better still it exists, and that is sufficient. It is, and to be totally is pure becoming.”
_Piero Manzoni